


Non-Standard Oil

by RedGold



Series: Timeless: Season Three: Radial Waves [4]
Category: Timeless (TV 2016)
Genre: Emma is smarter than everyone, Gen, Ida Tarbell, Lucy's family is dysfunctional, Mistakes were made, Screenplay/Script Format, Standard Oil, everyone is on edge, history finds a way, this is what Rittenhouse should have been doing from the start, trigger warning: assumed abusive household
Language: English
Status: Completed
Published: 2018-12-17
Updated: 2018-12-25
Packaged: 2019-09-20 19:25:17
Rating: Teen And Up Audiences
Warnings: No Archive Warnings Apply
Chapters: 6
Words: 12,608
Publisher: archiveofourown.org
Story URL: https://archiveofourown.org/works/17028570
Author URL: https://archiveofourown.org/users/RedGold/pseuds/RedGold
Summary: The Mothership jumps back to a time of seemingly no historical importance. When the Time Team gets there, they discover that Rittenhouse is playing a much more delicate game, using small events to affect larger ones. If this works, then Rittenhouse will have control over the US Oil Industry and ensure that corporate monopolies operate unchecked.The Team splits up. Lucy and Flynn going after Ida Tarbell, an American journalist who will help invent modern investigative journalism, and Emma's next target. Wyatt and Rufus go to investigate Rittenhouse holdings... and find themselves in the worst possible place, at the worst possible time.





	1. Teaser

**Author's Note:**

> This is episode four of my proposed 16 episode season three. Like episodes of a tv series, it can be read individually with help of the Previously On. The season three picks up after Chinatown and is not canon with the two-hour tv movie.

_Previously… On Timeless…_  
This story is canon through 2x10 _Chinatown_. In 3x01, _Radial Waves_ , Carol and Nicholas survive as a by-product of saving Rufus. Future-Lucy also speaks to Flynn and tells him about Radials, the crushing time waves that change everything. She also reveals she lied to him to get him to do what she needed him to do, because she does believe one day they will save the people they love, but it may other versions of them who do it.

In 3x02, _Barbed Wire Sunday_ , Nicholas finds an old friend, Otto Weber, in East Germany, and brings him to the future. Rufus helps a young chef named Hans Gruber who goes on to become famous enough that the character in _Die Hard_ is renamed. And Jiya discovers that she’s changed even more than she realized.

In 3x03, _Frankenstein’s Monster_ , Lucy visits her father in prison, and then goes to a diner with her half-brother to talk. They are attacked, Denise coming to the rescue. Meanwhile, Jiya, Rufus, Wyatt, and Flynn travel back to the weekend Mary Shelley starts to write Frankenstein so they can stop a sleeper agent. This turns out to be Elsie, the nursemaid to Mary’s son. There is a fight, and they manage to capture “Elsie” who is now being held at a black ops site.

* * *

TIMELESS

Episode #304 “Non-Standard Oil”

**TEASER**

EXT – RITTENHOUSE HQ – WASHINGTON DC – 1887 – DAY

Establishing shot of a three-story brick house of late 1800s construction, obviously built on wealth. 

INT – RITTENHOUSE HQ – WASHINGTON DC – 1887 – DAY

The inside of this house is opulent with rich woodwork, expensive paintings and clocks on the walls. 

Nicholas and Otto Weber sit on a bench sofa in the entry hall, dressed in clothing of the era, very similar to what Nicholas wore in 1888 Chinatown. Nicholas is also wearing glasses and has grown out some facial hair, a few weeks’ worth, since Berlin. This makes him look much different, unlike himself. He is holding a period accurate satchel across his lap. 

Emma and Jessica sit across from them, also dressed similarly to their Chinatown outfits. Except Jessica wears something not quite as tight around the middle. 

Beat as nothing but a few ticking clocks can be heard. Then a young, smartly dressed man walks into the room.

ASSISTANT  
Thank you for waiting, sir. Mr. Keynes will see you now. 

Otto glances at Nicholas who shows no change of expression.

They all stand, but the assistant holds his hand up.

ASSISTANT  
Your women will have to wait here. 

Emma raises her brow and gives a slightly murderous look.

NICHOLAS  
(German accent)  
Why don’t you get started on that other thing we discussed?

EMMA  
(fake smile)  
Sure thing. Come on, Jess, let’s leave the men to talk  
while we go do the heavy lifting. 

Nicholas gives her a bit of a frown, relations are definitely strained between these two.

Emma and Jessica leave. Nicholas and Otto are led farther into the house.

INT – RITTENHOUSE HQ – STUDY – DAY

The study is as opulent as the rest of the house. Lots of books and old clocks, very similar to David Rittenhouse’s study. Sitting behind the desk is a man in his late forties/early fifties, Joshua Keynes. Standing beside him is a man young old enough to be his son, a slight resemblance between him and Nicholas (when clean shaven). The father and son are wearing very expensive clothing for the era.

OTTO  
(genial)  
Mr. Keynes, thank you for agreeing to this meeting. 

JOSHUA KEYNES  
You come from our allies across the pond and your  
introduction letter had all the correct high-level codes.  
How could I refuse? 

Joshua is sharp and intelligent, his words measured. There is no doubt that if he gets even a whiff of something being off, he’ll have them tortured and eliminated in a heartbeat. He is very much the descendent of David Rittenhouse, and of course, Nicholas’ grandfather.

JOSHUA  
And may I introduce my son, Phillip.

OTTO  
A pleasure to meet you both.  
As I said in my introduction letter, I am Otto Weber,  
of the Rhineland Chapter. This is my is assistant… Gustav. 

NICHOLAS  
(continues German accent unless otherwise noted)  
It is a great honor, to meet a man of your stature, Mr. Keynes.

JOSHUA  
I do not have time nor the patience to deal with sycophants.  
You said you had something important to discuss?

OTTO  
Yes, of course. Gustav? 

Nicholas takes the satchel he is carrying and sits it down on the desk. He opens it and begins to pull out paperwork that looks period accurate.

OTTO  
We’ve come with some investment advice.  
A way to ensure Rittenhouse maintains a substantial control  
over the future of industry and the masses in general. 

Philip has picked up one of the papers and glances over it.

PHILIP  
This is a list of names.  
Henry Ford… Antun Lučić… Orville Wright…  
Who are these people? 

OTTO  
Up and coming engineers who, we believe, will change  
the course of history regarding the oil industry  
and mass transportation.

JOSHUA  
And what evidence do you have for this?

NICHOLAS  
We have no evidence. Only a keen grasp on what  
has shaped the past to become the present.  
And we can use this knowledge to take the present,  
and shape the future. 

Off Joshua and Philip as they consider Nicholas’ words…

Cut to…

INT – HORSE DRAWN CARRIAGE – DAY

Emma and Jessica sit across from each other in a typical horse drawn carriage or buggy. It rocks slightly as it runs over uneven streets.

JESSICA  
Does it bother you?  
That we work for a group that treats us so dismissively?

EMMA  
It’s 1887, things change.  
And they’ll keep changing as long as I have any say in it. 

A quiet moment passes as Emma judges Jessica who is looking out the window of the carriage.

EMMA  
What’s bothering you?

JESSICA  
(slightly startled)  
Nothing… just… Carol said we were going to change the world.  
From what I can tell after living in the bunker, talking with  
Wyatt and the others… we’re not doing a very good job of it. 

Emma watches her again, nearly expressionless, then she starts to laugh.

JESSICA  
What?

EMMA  
I’m going to let you in on a little secret. If you ever want  
to get something done, and I mean really make a change,  
quick fixes like altering a war or killing a music trend isn’t going to cut it. 

JESSICA  
What do you mean?

EMMA  
To paraphrase a classic…  
(imitates Jeff Goldblum)  
History, uh, finds a way.  
(beat)  
Throwing a rock in a river isn’t going to change its course.

JESSICA  
Are you talking about fate? Destiny?

EMMA  
I’m talking about the fact that you don’t get anything  
out of life without putting in the hard work.  
You gotta play the long con.

JESSICA  
And what long con are you playing? 

Emma simply smiles at Jess, as if it’s kind of adorable that Jess would expect her to answer.

EMMA  
The princess and her court should be here by now.  
I don’t know if they’ll figure out what we’re doing.  
If they do, I can trust you to do what needs to be done, right?

JESSICA  
Of course.

EMMA  
You’re not going to let Wyatt slip away from you again like you did in Chinatown?

JESSICA  
(somber)  
Not if I can avoid it.

EMMA  
Good.  
(beat – thinking)  
They want me to train more pilots.  
How would you like to learn how to fly the Mothership?

JESSICA  
What… me?

EMMA  
It’s more user friendly than the Lifeboat, but it will still  
take several months of training to make sure you have the  
sequencing down, and to teach you some basic troubleshooting.

JESSICA  
I’m just a bartender.

EMMA  
You _were_ a bartender because that’s what  
we needed you to be. Don’t sell yourself short. 

Jessica thinks about this for a moment, then nods, she’s up for the task. Emma is pleased by this.

Off Jessica looking out the carriage window, the US capital circa 1887 passing by…

END SCENE 

END TEASER

TITLE CREDIT 

**Notes for the Chapter:**

> Here I establish the Keynes family tree.
> 
> And while you have likely heard of Henry Ford and Orville Wright... Antun Lučić (or Anthony Lucas) is a Croatian born immigrant who is basically the reason Beaumont, Texas exists. He transformed Texas into the oil power-house it is today. He also revolutionized how we drill for oil. I was hoping to find a way to get him and Flynn to meet, but, alas, I will have to save that for another episode.


	2. ACT I

**Notes for the Chapter:**

> Thanks for reading! <3

**ACT I**

INT – TIME TEAM HQ – GUN RANGE – DAY

Someone, possibly Flynn himself, has taken one of the longer rooms in the former sanatorium and converted it into a gun range. Old blankets of various styles are hung against the walls to act as both sound dampeners and to catch ricochets. At the far end, hay bells are stacked, paper targets stuck to them.

Close up on a target as three progressive shots go dead center, a very tight grouping. 

On Flynn who is standing at the other end of the room, a long plastic table in front of him with various supplies like other guns, boxes of bullets, ear protection, safety glasses etc. He’s dressed casually, ear plugs in and safety glasses on as he practices, shooting three more rounds. 

On the entrance as Lucy walks in, also dressed casually. She jumps slightly at the sound of the gun in the small space. She watches from the back until he finishes.

POV on both of them as Flynn ejects the empty magazine to exchange it for another one. He notes Lucy is behind him as she walks up to the table. He is quiet, watching her as she picks up one of the guns lightly, just looking at it.

LUCY  
After what happened at the diner, I thought it might  
be smart for me to learn how to properly use one of these things.  
(beat)  
I was going to ask Agent Christopher, but she’s busy  
with Mason and Rufus, working on the security system. 

Flynn says nothing, watching Lucy, knowing what she is about to ask, unsure what his answer should be.

LUCY  
I was wondering if—

Lucy is turning towards Flynn, idly pointing the gun at him. He reacts swiftly, using two fingers to move the barrel away.

FLYNN  
First rule of gun safety, always assume the gun is loaded.  
Second rule, never point it at anything, or anyone,  
you’re not prepared to shoot. 

Lucy gives Flynn a raised brow look, remembering all the times Flynn had pointed a gun at her, Wyatt, or Rufus. Flynn replies with a ‘yeah, I know’ shrug.

LUCY  
So, you’ll give me a lesson?

FLYNN  
(thinks it over)  
Yes, but not with that. The grip is too blocky, not good for small hands.  
(grabs another gun off the table, ejects the mag)  
Here, Browning 9mm. Thinner grip, easier to hold. 

Lucy takes the gun and points it down range, holding it like someone who doesn’t really handle guns that often. But she nods, the grip sits more comfortably in her hand.

FLYNN  
Okay, first we go over the parts.  
This is a magazine, not a clip…

Conversation goes indistinct as POV changes to the entrance. The door opens slightly as Wyatt is about to walk in. He pauses, seeing the two talk.

Wyatt POV on Lucy and Flynn, they have moved on to how to maintain a proper stance. Flynn is close to Lucy, moving her arms into position. 

On Wyatt who looks protective, like he’s going to barge in, but then decides to just leave it alone and walk away, the door closing silently. The scene reminiscent of him walking away from Jessica and himself in _Radial Waves_.

On Lucy and Flynn as Flynn adjusts Lucy’s left elbow which is sticking up. Lucy is now wearing safety glasses and ear protection which means they both speak a little louder.

FLYNN  
Don’t lock your right elbow, you need to be  
able to absorb the shock wave. And you  
want to make sure your stance is solid. 

On Flynn lightly kicking at Lucy’s feet, getting her into a better L position.

On Lucy who is not sure how to react to the manhandling.

On Lucy and Flynn…

FLYNN  
(steps back)  
Okay, you want to line up the sites on your target like I showed you.  
(beat as she does so)  
And you want to pull back on the trigger, not curl your finger, pull back. 

Flynn demonstrates, pretending to be pulling the trigger of a gun.

LUCY  
Wyatt told Rufus to pull the trigger between breaths.

FLYNN  
If one has the luxury, then yeah, that helps. 

On Lucy who takes a breath, readying herself. After a moment, she fires off a shot.

On the target, the bullet goes high and right of the center circle, hitting the outer third circle. This means she still hit the target, had it had been a person.

FLYNN  
Went high because you’re tipping your hand up when  
you pull the trigger. Try to keep your wrist straight. 

Lucy nods, takes another breath, and fires.

On target, her shot hits lower, but still not center mass. Two more shots go in, each one progressively higher than the last. 

On Lucy who puts the gun down on the table, frowning.

FLYNN  
Not bad.

LUCY  
(pulling off ear protection)  
I didn’t even hit center. 

FLYNN  
Doesn’t matter. Always aim for the torso, you’ll hit  
something that will put the attacker down.  
Hitting dead center on a target is just bragging rights.

LUCY  
I suppose that’s true. 

Beat as Flynn starts to reload a magazine.

LUCY  
You’re a really good teacher, by the way. 

FLYNN  
Had too much practice at it. 

Having seen Flynn’s military record, Lucy feels the weight in those words.

LUCY  
(beat – looking down at the smaller handgun)  
Did you teach your wife to shoot?

FLYNN  
(half laugh)  
No… no that dubious honor was given to the US Army. 

LUCY  
I didn’t realize she served, you never said.

FLYNN  
(mood shift)  
It’s… it’s how we met, actually. 

Flynn busies himself with things on the table. Lucy considers what she is going to say next.

FLYNN  
I know why you’re doing this, and it has  
nothing to do with the attack on the diner. 

Lucy starts to get a bit defensive, snapping her head to look at him. He looks at her, not taking back what he said.

SFX – Entrance door bursting opening.

On Wyatt who is standing in the doorway, a little rushed.

WYATT  
Guys, we got a problem. 

Cut to…

INT – TIME TEAM HQ – GYM/LAUNCH AREA – DAY

The team is standing around the computers where Rufus and Mason are sitting.

LUCY  
What do you mean, the alarm didn’t go off?

RUFUS  
We’ve been trying to upgrade the security system  
for the past two days. We must have done something  
wrong because the alarm did go off, it just didn’t sound.

FLYNN  
When was this?

MASON  
5am.

LUCY  
(alarmed)  
Emma took the mothership out nine hours ago?

RUFUS  
Yeah… and she hasn’t come back yet.

WYATT  
Where’d they go?

RUFUS  
March 29th, 1887, ah, Washington D.C. 

Everyone looks at Lucy to tell them what they are in for.

LUCY  
That doesn’t make any sense.

DENISE  
Why, what happened then?

LUCY  
Nothing. Nothing happened.

WYATT  
Nothing?

LUCY  
Absolutely nothing happened that day, that week,  
that month even. Nothing of historical significance anyway.

FLYNN  
Nine hours is a long time to be dropping off  
sleepers if they’re not activating one.

JIYA  
What if… what if we’ve already been hit by the Radial  
and we don’t remember what’s supposed to happen? 

The Team looks at each other, various degrees of having a horrible feeling that Jiya might be right.

DENISE  
Emma’s still in 1887 so it’s not over yet.  
Get the Lifeboat started up. Even if we can’t fix  
what she’s changed, maybe we can still take her out.  
(beat as Lucy, Wyatt, Rufus, and Flynn start to move)  
Jiya, Connor, I want that alarm system back working, now. 

JIYA  
(taking Rufus’ seat)  
Yes, ma’am. 

On Lucy, Wyatt, Rufus, and Flynn as they start to load the lifeboat.

Off Denise as she stands behind Jiya and Mason who are working to correct this unfortunate mistake…

END SCENE

EXT – WASHINGTON DC, MARCH 1887 - AFTERNOON

The Time Team are walking down a street, dressed for the period. Their clothing is also similar to what they wore in Chinatown, 1888. Lucy is in a fashionable dress of purple, Wyatt and Rufus are in working men suits, and Flynn is dressed to the nine’s like he’s a wealthy steel magnate.

Rufus seems to be very distracted, almost running into a post.

WYATT  
You okay, Rufus?

RUFUS  
Yeah, just… thinking about how Jiya is literally on the other side  
of the country right now, alone, and there is nothing we can do about it. 

Wyatt gives his friend a reassuring pat on the shoulder.

LUCY  
You have her back now, we have you both back, and that’s what matters.

RUFUS  
Yeah…  
(beat – tries to focus)  
Alright, so, this is Berlin all over again. What’s the plan?

LUCY  
Well, it’s Washington, they could be going after any number  
of important people. From the president to current or future lawmakers. 

WYATT  
We have to start somewhere.  
You thinking the White House or the Capital Building?

FLYNN  
According to the journal, Rittenhouse has had influence over  
the presidency since before they installed one of their own, Andrew Jackson.

RUFUS  
Jackson was Rittenhouse? Yeah, that makes sense.

LUCY  
(beat)  
The Capital Building is closer, so we might as well start there. 

Off Team as they head down the street...

END SCENE

INT – KEYNES STUDY – DAY

The vibe of the room is slightly more relaxed, but Joshua Keynes is ever watchful for deception. There is definitely something odd about the Germans, but they are not there to kill him, he is sure of that.

PHILLIP  
The Rockefellers are some of our most loyal members.  
The Standard Oil Company has been very profitable for us.

OTTO  
Yes, but it is monopolizing the US oil industry, which, while good  
for Rittenhouse, could be seen as troublesome by those who lack vision. 

JOSHUA  
By whom do you mean?

NICHOLAS  
Certain lawmakers and muckrakers. But do not worry,  
our associates are taking care of this obstacle as we speak. 

SFX – Study door bursts open.

POV as a woman enters the room. She is younger than Philip, perhaps twenty. Her facial features are a very uncanny likeness to… Amy Preston. Sporting long, medium brown hair, and having the same shaped face and eyes, this woman could easy be Amy’s stand-in. [Showrunner Note: If we can get the same actress who plays Amy to play Ruth, do it.]

Nicholas straightens up and his expression goes blank.

JOSHUA  
This is not a good time, Ruth.

RUTH  
(sarcastic)  
Oh, is it not? So many apologies for inconveniencing you.  
(to Nicholas and Otto)  
And apologies to you gentleman, for, you see, the good  
Mr. Keynes here has no more daughters to barter with,  
so you’ll have to settle for thirty pieces of silver,  
that is the going rate for these things, is it not?

PHILLIP  
Your hyperbole is getting old, sister.

RUTH  
As are you, dear brother, so I don’t see what all the fuss is about?

JOSHUA  
We are trying to conduct business.  
Whatever new complaints you have can wait.

RUTH  
No _new_ complaints, so how about I just reiterate the old ones.

PHILLIP  
This isn’t the time, nor the place. 

Phillip moves forward to try to take his sister’s arm. She won’t let him.

RUTH  
(defiant)  
Do not touch me. 

Joshua stands up from his desk and literally commands the room with his presence. Ruth suddenly goes still and compliant, realizing she has perhaps pushed too far this time.

JOSHUA  
Gentleman, if you could give me a moment to deal with this interruption.

NICHOLAS  
Of course. 

Nicholas nods and Otto follows the man’s lead, heading out of the study.

Cut to… INT – ENTRY HALL

Nicholas and Otto stand and wait to be called on again. Nicholas is distracted, but he does not seem to be surprised nor distraught over what he just witnessed.

OTTO  
I remember now, you named your daughter after your mother, Ruth.

NICHOLAS  
(American accent in this scene)  
It was a placating gesture, nothing more.

OTTO  
(beat)  
“No more daughters to barter with?”  
Your parents’ marriage was arranged?

NICHOLAS  
I hold no delusions. My father’s family was of low breeding,  
but they were clever, and industrious. They earned their right  
to pair their blood with an heir to Rittenhouse, but his name  
could not carry on, of course.

OTTO  
(neutral)  
Of course.

NICHOLAS  
This shouldn’t take long.  
Mother was always a defiant one, but she learned her place. 

Off Nicholas who is cold and lacking empathy…

END SCENE

INT – CAPITAL BUILDING – HALLWAY – DAY

Lots of people are bustling around as the Time Team make their way down the hallway. They speak quietly as to not garner attention.

LUCY  
Any one of these people are a potential target.

FLYNN  
Or all of them. Enough C4 could bring this  
whole place down with everyone inside it.

RUFUS  
Please don’t tell me you seriously considered doing that.

FLYNN  
Okay, I won’t tell you. 

Rufus looks really sorry he even said anything. The pleased look on Flynn’s face does nothing to confirm or deny if Flynn had seriously considered blowing up the US Capital at any point.

WYATT  
Wait, I just thought of something.  
Remember last time we were here, in 1954?

RUFUS  
Kinda hard to forget.

WYATT  
Flynn was trying to take out the Rittenhouse  
summit with an overly excessive amount of C4.

FLYNN  
Excuse me?

WYATT  
No, seriously, that was overkill. But anyway, there must  
have been a reason for using that particular house.

LUCY  
I looked into it the moment we got back,  
it had been sitting empty since the 90s.

WYATT  
I know, but you requested land records before you were kidnapped.  
They were in the pile of paperwork I got from Homeland.  
It said another house sat on that property before it burned down.  
Ownership records were scrubbed, but it was there since at least 1870.

RUFUS  
You’re thinking Rittenhouse were the owners back here too?

LUCY  
Doesn’t sound unreasonable.

WYATT  
And if it did belong to Rittenhouse, Emma could be using it as a safehouse.

FLYNN  
As long as she doesn’t think we know about the original house.

WYATT  
She’s been here over ten hours now, she’s going to need  
resources and a place to work from. You got any better ideas?

LUCY  
It’s worth checking out. Even if Emma isn’t there, if it’s a Rittenhouse  
safehouse, it’s bound to contain some valuable information. 

Flynn ultimately gives a nod of agreement.

SFX - Woman’s frightened screams, general sounds of an upset crowd.

The Team look between themselves and then quickly move towards the sound. They fight through a crowd of panicked individuals. 

Wyatt is the first one to clear the crowd.

Team POV, ahead of them is a four-way junction. Emma and Jessica appear, turning down the very hall the team is walking up. 

On Wyatt who sees them before they see him. He pulls his gun.

On Emma who, upon seeing Wyatt with his gun drawn after basically getting the drop on them, immediately grabs Jess and pulls her front of her like a shield and starts to walk backwards.

On Wyatt who falters, he can’t risk shooting Jessica.

On Flynn who sees this happening but is crowded, unable to do anything quick enough to matter.

On Jessica and Emma who disappear around the corner. 

On Team as they chase after, Wyatt at the lead with Flynn catching up after finally clearing the crowd.

Cut to... 

INT – CAPITAL BUILDING – ROTUNDA – DAY

The Team runs into a rotunda area with several exits and a lot of people rushing around.

On Wyatt who stands near the middle of the room, camera panning around him as he spins, but there is nothing to indicate which exit Emma and Jessica took.

On Lucy, Rufus, and Flynn who join him, also looking around, seeing no trace of the women.

On Flynn who gives Wyatt a very annoyed look because Wyatt had a shot and didn’t take it. 

On Wyatt who yes, he knows this, but he wasn’t going to shoot Jessica... and Emma knew that.

On Lucy who stops a bystander.

LUCY  
Excuse me, do you know what happened?

BYSTANDER  
It’s Senator Sherman, he fell from the balcony of the Senate house.  
He’s dead.

LUCY  
Senator Sherman, of Ohio?

BYSTANDER  
The very same, now excuse me. 

The bystander moves on while Lucy stands stunned and afraid.

LUCY  
This... this is bad.

RUFUS  
I take it Senator Sherman is an important guy?

LUCY  
He’s the author of what becomes the Sherman Anti-Trust Act.  
It’s the reason monopolies can’t operate in the U.S.  
(beat)  
They’re trying to fix it so whatever business investments  
Rittenhouse has... they’ll just go unchecked, take over everything...  
they’d literally be able to control the masses by being  
the only option they have for media, food... oil...  
(trails off, thinking)

FLYNN  
Lucy?

LUCY  
I didn’t know the date, but it must be today, otherwise... why today?

WYATT  
What happens today?

LUCY  
Okay, so, we know Rockefeller is Rittenhouse, right?  
Well, the Standard Oil Company has a monopoly on the US oil industry.  
A near strangle hold. The Sherman Anti-Trust Act puts an end to that.

RUFUS  
Wait, that’s right. I remember Mason talking about this once.  
Exxon, Chevron, Mobil, they’re all created by breaking up Standard Oil.

LUCY  
Yes, they are. And the whole reason anyone tries to go after Rockefeller  
is because of a series of articles printed in _McClure Magazine_  
called _The History of Standard Oil_. It’s one of the first pieces of  
modern investigative reporting. It kind of sets a gold standard for it, actually.

WYATT  
So, it was published today?

LUCY  
No, not until 1901, but the reporter, Ida Tarbell, she lives  
in Pennsylvania, and sometime between early March  
and late April, she visits the US Patent Office.  
That must be today.

RUFUS  
Right, two birds, one time machine.

FLYNN  
The Patent Office is just over the river.

LUCY  
No, that’s the new building. Today it’s north-west of here, near Chinatown. 

FLYNN  
Alright, we should get going. 

The Team generally agrees and starts to move, except Lucy holds them back.

LUCY  
Wait. What if I’m wrong?

WYATT & FLYNN  
You're never wrong. 

LUCY  
(ignores them, is thinking)  
Emma’s been here for hours, she could have already gotten to Tarbell.  
Someone should go check out the house in case she’s headed there. 

Wyatt and Flynn glance between each other, agreeing that perhaps it is better they split up, just in case.

WYATT  
Okay, Flynn, Rufus, go to the house, Lucy and I will head to the Patent Office.

FLYNN  
No, Lucy and I will go the Patent Office. You two can go to the house.

WYATT  
Flynn—

FLYNN  
We all saw how you choked just now. Emma knows your weaknesses,  
and she’s going to use them against you. We almost had her. 

WYATT  
(starts to get angry)  
Wait, are you telling me you would have shot Jess to get to Emma?

FLYNN  
She’s Rittenhouse. They both are.

WYATT  
Jess is a victim here too, Flynn.  
Just as much as your family. 

Flynn grabs Wyatt by his lapels, angry.

FLYNN  
It is not the same!

LUCY  
Flynn! 

Flynn still has ahold of Wyatt, but looks like he’s a seconds away from throwing Wyatt across the room.

WYATT  
Jess didn’t have a choice to become Rittenhouse.  
They took her when she was a kid, brainwashed her.  
(glances over at Rufus)  
And I know what she did to Jiya, and I’m sorry, but I’m not giving up on Jess. 

FLYNN  
(barely restrained)  
Rittenhouse murdered my five-year-old daughter as she _slept_.

Beat as Flynn towers over Wyatt who does not back down or try to pull away.

WYATT  
We can save Jess, save Amy, save your family… save all of them. 

There is a stare down, people noticing the confrontation.

RUFUS  
Uh… guys…

Flynn lets go of Wyatt, a bit roughly, and collects himself, but still angry.

FLYNN  
Fine, I will do my _level best _not to hurt Jessica,  
but if it comes down to between her or stopping Rittenhouse,  
or her and Lucy, you know what I’m going to choose. __

  


Wyatt glances over at Lucy who is clearly not happy with the exchange that just took place. Wyatt concedes to Flynn with a nod. 

WYATT  
We meet back here, the Capital steps.

LUCY  
(to Rufus)  
Be careful. 

Rufus nods and the group splits up.

Off overhead shot of Wyatt and Rufus heading one way, Flynn and Lucy another...

END SCENE

END ACT I

**Notes for the Chapter:**

> Everything stated about Standard Oil, Ida Tarbell, and the History of Standard Oil is true. I admit though, I couldn't find a date for when she visited the Patent Office. I know when the article that prompted her visit was published and when she published her rebuttal, but I don't have the time or resources to locate the answer. Most of her bio's just gloss over this moment, even though it was one of her first pieces of true investigative literature. 
> 
> What I said about Senator Sherman was true as well, except he did not die in our timeline. Um, sorry buddy.
> 
> Lastly, gun safety is no joke. Always assume a gun is loaded and never point it at anyone you're prepared to shoot. And yes, Flynn used an excessive amount of C4, like, seriously, dude, overkill. Did you not have any demolitions training? Though, I suppose if you really want the job done... you use shaped charges and tap the natural gas line and... and never give me a time machine folks.


	3. ACT II

**ACT II**

INT – CAPITAL BUILDING STAIRWELL – DAY

Emma and Jessica are walking down the steps of a smaller, wooden stairwell, at the back of the building. Their breathing is a little labored from their escape.

JESSICA  
You used me, like a shield.

EMMA  
Wyatt was never going to shoot you, and there was no time for  
me to draw my gun because he sure as hell would have shot me.  
It was a tactical decision. 

Beat as they get to the bottom of the stairs. Jessica is unhappy and somewhat sad. Emma has no time for this.

EMMA  
Come on, what’s wrong?

JESSICA  
Just… you’ve changed. 

EMMA  
Have I?

JESSICA  
Yeah. I used to be the older one. You used to call me, when  
things got stressful, and I was always there to pick up the phone. 

Emma doesn’t seem to be showing any emotion at Jess’s words.

JESSICA  
Then when you were given the order to fake your death, I let you  
drink yourself sick in the bar after hours just so you could get rid of the nerves.  
(beat – shakes head)  
But you don’t remember any of it. 

EMMA  
(neutral)  
No. I don’t.

JESSICA  
Yeah, because when you came back from introducing Carol to  
my parents and saving my brother, that all got washed away.  
I’m basically a stranger to you.  
(beat)  
And now you’re older than me thanks the decade you spent  
in the past. You’ve also gotten colder, and way more cynical. 

EMMA  
Do you have a point here?

JESSICA  
The point is I miss my friend. 

Beat as Jess calms down and Emma remains seemingly unaffected by Jess’ words.

EMMA  
You’re right. You are a stranger to me, and whatever…  
sisterly bond you think we might have had, it’s gone.  
(beat)  
But I told you, don’t sell yourself short. I haven’t known you for  
long, but I know that when we finally get Rittenhouse to where  
we need it to be, I can’t think of anyone else I’d want to help me run it. 

Emma gives Jessica a friendly and encouraging pat on the shoulder, giving a little bit of a smile.

EMMA  
When we get back, why don’t we hit the bar.  
You can tell me about all the memories I’ve forgotten.

JESSICA  
(attempted smile)  
Yeah, that’d be fun. 

Random individuals start to move into the stairwell, prompting Emma to pull back and check her surroundings again.

EMMA  
Come on, let’s finish things here so we can pick up the old geezers and go home. 

Jessica nods and Emma takes point, heading away from the stairs. When her back is turned, Jessica’s face drops into a questioning frown.

JESSICA  
(low, under breath)  
The long con…

Off Jessica as she follows Emma, unsure of who’s conning who…

END SCENE

INT – KEYNES HOUSE – ENTRY HALL – DAY

Nicholas and Otto stand, waiting.

SFX – Slamming door, sharp clacking heels, another slamming door.

NICHOLAS  
(normal accent)  
I imagine she’s gone out for a cigarette, or five. 

Beat as Otto judges Nicholas for a moment.

OTTO  
I’m beginning to understand why you were never one  
to speak of your family while we were in Cambridge.

NICHOLAS  
I spoke of my family all the time.

OTTO  
You spoke of Rittenhouse.

NICHOLAS  
Yes. 

The young man appears again.

ASSISTANT  
Gentlemen, if you please follow me. 

Off Nicholas and Otto heading out of the entry hall…

Cut to… INT – STUDY – DAY 

Nicholas and Otto join Joshua and Phillip in the study. Joshua is standing at the fireplace, a bit dark and menacing, while Phillip is at the desk, idly glancing through the paperwork.

JOSHUA  
Apologies for the interruption.

OTTO  
No apologies required, sometimes these things cannot be helped.

NICHOLAS  
(German accent returned)  
Rittenhouse would not be where it is without  
the passion and determination of its members.

JOSHUA  
(half laugh)  
My daughter suffers a weakness of character.  
She’s lucky I allow her to marry at all.  
(turns towards Nicholas and Otto)  
Some branches really should be pruned. 

On Nicholas, a slightly murderous glint in his eyes as his grandfather’s words sting. Nicholas’ composure takes on a mix of Joshua’s commanding presence and Ruth’s defiance.

JOSHUA  
You don’t agree, Gustav?

NICHOLAS  
No, I agree. I’m simply not quick to discount.  
Wilted blossoms may still yield fruit.

JOSHUA  
Only if one has the patience. And believe me,  
that woman takes far too much of it. 

Joshua gestures to the desk where the papers are laid out.

JOSHUA  
We were discussing Standard Oil.

OTTO  
Yes. I think you’ll find that America, and the world, will become  
more and more reliant on oil and petroleum related products.  
This presents a massive opportunity for Rittenhouse. 

Conversation goes indistinct as Joshua and Otto move to join Phillip at the desk. Nicholas hangs back.

Off Nicholas who is as calculating as ever…

END SCENE

INT – TIME TEAM HQ – GYM/LAUNCH AREA – DAY

Jiya and Mason are working on the computers. 

SFX – Alarm sounds.

Denise comes up behind them.

DENISE  
(yelling)  
I take it you got it working now. 

The alarm turns off as Jiya and Mason finish up whatever they were doing.

JIYA  
We fixed the problem, and finished the security upgrades.  
We’re good to go.

DENISE  
Good, because we were just starting to get ahead of Rittenhouse.  
I don’t want to fall behind again.

JIYA  
Yeah.

DENISE  
Let’s hope it’s working out for the Team as well. 

Beat as there is a general mummer of agreement, then Denise excuses herself and leaves.

JIYA  
Hey, Mason.

CONNOR  
Yes, Jiya?

JIYA  
I’ve been thinking about Elsie, that sleeper  
agent we bagged back in 1816 last week. 

CONNOR  
Yes, what about her?

JIYA  
I went through all the books and biographies I’ve read  
about Mary Shelley. They changed, of course, they couldn’t  
keep it all a secret. The new story of how Mary Shelley came  
to write _Frankenstein_ is even more goth now, actually.

CONNOR  
So what is upsetting you?

JIYA  
(beat)  
Elsie, she’s not talked about a lot in Mary’s history, she’s not  
a central figure. But I swear, everything I read about her, back when  
I was younger, doesn’t match up to the new history created by the sleeper.

CONNOR  
Of course it doesn’t, the sleeper changed history.

JIYA  
So why do I remember the original Elsie?

CONNOR  
Well… (goes blank)  
Oh.

JIYA  
I’m not sure when they dropped off the new Elsie, but it had  
to have been before we got the Lifeboat back up and running.  
I should be like Wyatt and the race car driver. I should have  
my memories of Elsie changed, rewritten by the Radial.

CONNOR  
That’s… fascinating, and worrisome, of course, but…  
have you discovered any other instances of this occurring?

JIYA  
No. I mean. I wouldn’t know about the race car driver.  
I always thought Lando Calrissian was a name Lucas stole and  
Spielberg repurposed the _Jurassic Park_ idea. And Jessica never died.

CONNOR  
So, why is it that you remember Elsie then?

JIYA  
I don’t know, and that frightens me a little. 

Beat as Connor thinks and Jiya tries not to psyche herself out.

CONNOR  
Okay, well, let’s look at this scientifically. There have been  
a lot of changes to history since you went to 1954. I believe  
Lucy was cataloguing them while we were in the bunker. 

JIYA  
Yeah, she has a notebook in her room.  
I don’t think she’ll mind me grabbing it.

CONNOR  
Then we go down the list, see if anything else is different for you.  
We search for commonalities. Try to discern a pattern.

JIYA  
That’s a good idea. I’ll go get the notebook. 

Jiya gets up and walks towards the exit.

Off Connor who watches her, his face going from neutrally optimistic to very much worried about her…

END SCENE

INT – US PATENT OFFICE – DAY

The inside of the Old US Patent Office looks like a classic library. A central hallway is open to three floors worth of random shelves stacked with books, files, and boxes. Rows and rows of these shelves are laid out in lines. 

It’s these aisles where we find Lucy and Flynn walking down.

FLYNN  
This place is massive.  
Do you have any idea where Tarbell might be?

LUCY  
I honestly don’t know. She was looking up the number of  
female inventors. She read an article that listed the number  
quite lower than she thought it should be, so she came  
here to investigate it. She was right, of course.

FLYNN  
She might be in the administrative offices then.

LUCY  
I think it’s on the other side of the building.

FLYNN  
Naturally. 

The two of them continue down the stacks.

LUCY  
Wyatt shouldn’t have said what he said, it’s not the same, what  
happened to your family, and to Jess. But she’s still a victim too.  
They only brought her in to get to him, get to us.

FLYNN  
(reluctant)  
Yeah, I know.

LUCY  
Then maybe stop giving him grief about it.

FLYNN  
Wyatt has made nothing but a long series of bad decisions which  
he has barely apologized for. I think he deserves a little grief. 

Lucy stops them in the middle of the stacks.

LUCY  
What happened back at the Capital wasn’t a little grief.  
In fact, you haven’t seemed to be yourself lately.  
I want to know what’s going on.

FLYNN  
(beat)  
You really want the truth?

LUCY  
Yes.

FLYNN  
The truth… is for the first time since São Paulo… I’ve had doubts.  
I’ve had to ask myself what am I going to do if I can’t get them back?  
(emotional, quiet)  
I was going to give them up anyway, they’d not recognize what  
I’ve become, but they’d be alive. My little girl would grow up,  
have her whole life ahead of her.  
(beat - solemn)  
We _will_ stop Rittenhouse. 

LUCY  
But your faith is slipping.

FLYNN  
It is definitely being tested.

LUCY  
It happens to all of us.  
(places her hand on his shoulder)  
That’s why we have friends to help get us through.

FLYNN  
I have _one_ friend, Lucy.

LUCY  
(soft)  
Maybe you should work on that. 

Flynn is saved from responding to this by a random staffer walking around the corner, barely glancing at the two as they walk past.

LUCY  
Come on, let’s find Tarbell.  
If Emma hasn’t gotten to her first. 

Off as the two walk down the stacks, the discussion closed for the moment…

END SCENE

EXT – KEYNES HOUSE – GARDEN AREA – DAY

The outside of the Keynes house has a lavish garden with tall, trimmed hedges and large pieces of stone art. A man in a casual suit walks past some of these hedges, making a patrol round. 

Wyatt and Rufus poke their heads up from over a bush.

RUFUS  
Well, the place isn’t empty, is that a good sign?

WYATT  
Not sure.  
(beat)  
That could be one of Emma’s men, and the Mothership  
might be on the other side of the property for all we know.

RUFUS  
Okay, so, we have a look around, and if the  
Mothership is here, we’ll steal it back.

WYATT  
I like that plan. Come on. 

The two move forward, keeping low, walking through the hedges and lawn art, circling around the back of the property.

They see another guard and duck behind a hedge. The guard walks past and the two talk quietly to each other.

RUFUS  
I don’t think the Mothership is here, and I was really  
looking forward to stealing it out from under Emma’s nose.

WYATT  
Same, but something is important about this house.  
(beat)  
Wait here, I’m going to try to get a closer look. 

Rufus nods and Wyatt moves away, towards the house proper.

On Wyatt as he makes his way up to the house, keeping low and hiding from any guards. He presses himself up against the brick and tries to get a look inside one of the windows.

Wyatt POV through the window, all he can see is an empty parlor. 

On Wyatt as he ducks down and moves to the next.

Cut to…

Rufus who is waiting, hiding behind a hedge. 

Rufus POV, the guard from earlier comes walking his way. Rufus will be exposed in a matter of seconds.

On Rufus who hurriedly moves to get out of the guard’s upcoming line of sight. He moves across the garden to hide behind a large piece of lawn art. 

Rufus takes a breath and then wrinkles his nose, waving his hand in front of his face.

On Ruth who is on the other side of a hedge from Rufus. She has put a cigarette out on the ground, stomping it with her high heeled boot. 

Rufus POV as he looks to see Ruth start walking away, towards the house. He does a literal double-take.

RUFUS  
Amy? How… ? 

Rufus follows Ruth, catching up with her near the house proper, clearing the garden. He lightly grabs at her shoulder, to get her attention.

RUFUS  
(voice low)  
Amy? 

Ruth immediately turns around and is not at all happy with someone grabbing at her like that, let alone a black man.

RUTH  
(incensed)  
How dare you touch me with your filthy hands!

RUFUS  
(immediately regrets his decision)  
Not Amy.

RUTH  
I should have you strung up for taking such liberties. 

RUFUS  
(starts backing off)  
My apologies, uh, ma’am, I’ll just go back to, uh, picking cotton. 

On Wyatt as he appears around the corner of the house, immediately spotting Rufus and Ruth.

WYATT  
Wait… Amy?

RUFUS  
(shaking head)  
Not Amy. 

On Ruth who looks between both men, realization coming to her that these two do not belong on the property.

Long POV on a guard who is walking towards them in the distance, but hasn’t seen them yet.

On Wyatt who rushes forward just as Ruth is about to scream. He slaps his hand over her mouth to keep her quiet.

RUFUS  
Now what?! 

Wyatt looks around as Ruth struggles, spots the doors to the cellar.

WYATT  
There! 

Rufus opens the doors to the cellar while Wyatt manhandles Ruth, his hand still over her mouth. She drops her bag as she is hauled off.

Cut to…

INT – KEYNES HOUSE – CELLAR – DAY

The cellar is similar to the one seen in 1954, the new house being built on the foundations of the old one. There are several wine racks and barrels in this one, so it’s a more enclosed space.

On Ruth and Wyatt as Ruth bites Wyatt’s hand to get him to let go of her.

WYATT  
Ow! She bit me.

RUTH  
Oh, don’t whine. You’re in for far worse. 

Ruth looks like she’s about to scream but Wyatt pulls his gun.

WYATT  
Sorry about this, but please don’t make us hurt you,  
because that’s the last thing we want to do. 

Ruth eyes the gun, a calculating look in her eye as she sizes up both men.

RUTH  
(curious)  
You sneak onto Rittenhouse property, assault a Keynes,  
and you expect me to believe you don’t want to hurt me?

WYATT  
Keynes? You’re a Keynes?

RUTH  
Who else would I be? 

Wyatt and Rufus exchange glances as realization dawns on them.

RUTH  
(laughs)  
Oh dear, you don’t know what you’ve done, do you?  
How stupid you both must be. 

On Wyatt and Rufus as they step back and huddle, Wyatt still keeping his gun trained on Ruth. They talk in low voices.

RUFUS  
Keynes, as in Nicholas?

WYATT  
That woman looks an awful lot like Lucy’s picture of Amy.

RUFUS  
So, did we just kidnap Lucy’s racist great-great-grandmother?

WYATT  
(to Ruth)  
This is your house? You live here with the rest of your family?  
The Keynes?

RUTH  
(is starting to enjoy herself with this unexpected turn)  
Yes, yes I do. This is one of our many homes.  
And you, you insipid man, have kicked at a very angry hornet’s nest. 

Off Wyatt and Rufus who have truly found themselves in the worst possible place and time…

END SCENE

END ACT II

**Notes for the Chapter:**

> Thank you for reading! <3


	4. ACT III

**Notes for the Chapter:**

> Thank you for reading. <3

   
ACT III

EXT – KEYNES HOUSE – DAY

A Guard is doing a pass-by, sees Ruth’s dropped handbag. He squats down to pick it up, turning it over in his hand. He then glances around. Something is not right.

Camera pans to the cellar doors which goes unnoticed by the Guard.

Cut to…

INT – KEYNES HOUSE – CELLAR – DAY

Wyatt is looking up through the crack in the cellar doors. After a moment, he steps back into the cellar proper next to Rufus.

WYATT  
I mean, we can try to make a run for it.

RUFUS  
I don’t feel like being chased down by Rittenhouse goons. 

WYATT  
We tie and gag her, she’ll be fine, and we’ll be  
long down the road before someone finds her.

RUFUS  
Okay, but who’s going to tell Lucy about this?

WYATT  
Oof, not it? 

SFX – A older klaxon sounds off.

RUFUS  
Well, this day just keeps getting better. 

Off Ruth who is seemingly really starting to enjoy herself…

Cut to…

INT – KEYNES HOUSE – STUDY – DAY 

Nicholas, Otto, Joshua, and Phillip are in the study, they had been chatting when the klaxon sounded.

OTTO  
What is happening? 

Joshua pulls a gun from his desk, unphased and alert.

There is a rhythmic knock on the door and then the Guard who found Ruth’s bag shows himself in.

JOSHUA  
Why was the alarm raised?

GUARD  
(showing the bag)  
This was found out on the lawn.  
Miss Keynes isn’t in her room and the staff haven’t seen her.

PHILLIP  
She could have just dropped it.

GUARD  
There are scuffled boot prints throughout the garden,  
and one of the cooks said she saw an unfamiliar  
negro near where this was found. 

JOSHUA  
(beat, thinks)  
Do a complete search of the house and the grounds.  
Check the perimeter and outer buildings first for any signs  
of trespassers or of Ruth being dragged off.

GUARD  
Yes, sir. 

The guard leaves and Joshua comes around the desk.

PHILLIP  
Ruth could be hiding at the top of the stables, just to be a nuisance. 

JOSHUA  
Perhaps, but if there are spies in my home, I want them found. 

Joshua looks at Nicholas and Otto, an edge of suspicion there.

NICHOLAS  
You have nothing to fear from us,  
we are as loyal to Rittenhouse as it comes. 

JOSHUA  
You are foreigners, and you bring fanciful ideas of  
engineering and industry as if you can see the future.  
I am of half a mind to shoot you both as charlatans. 

NICHOLAS  
The bell always chimes at the hour.

JOSHUA  
(cautious)  
What did you say?

NICHOLAS  
Is that not the words of your ancestor, Jonathan Keynes?  
The bell chimes at the hour, because that’s how it is designed.  
Therefore, one can predict, that every hour, on the hour, the bell will chime.  
(beat – gestures to the paperwork)  
History is a pattern, it’s designed, and therefore predictable. 

Joshua and Phillip think this over, lightly glancing between each other.

PHILLIP  
If the future was so easy to predict from looking at the patterns  
of history, then why does the world keep falling into the same ones?

NICHOLAS  
Perhaps because the right people are not in charge. 

Off Nicholas…

END SCENE

INT – KEYNES HOUSE – CELLAR – DAY

Wyatt comes back from looking out the cellar door again. Ruth is sitting on a barrel as Rufus stands watch.

WYATT  
I think they’re searching outward in.

RUFUS  
Good, that gives us time to figure out how  
to get out of here without getting shot.

RUTH  
Yes, yes, and how would you do that?

WYATT  
Look, Miss Keynes, believe me when I say that we _really_  
don’t want to hurt you, or anyone else in this household.  
This was a mistake, we just want to leave. 

RUTH  
A mistake?  
(laughs)  
Alright then, what did you think was going  
to happen when you snuck into my home?

WYATT  
We didn’t know who lived here. 

RUTH  
Well, that is frightfully obvious.  
Doesn’t answer my question though.

WYATT  
We were looking for someone else. So, just, please don’t put  
up a fuss while I figure out a way to get my friend and I out of here. 

RUTH  
You know, you say you don’t want to hurt me, but the only way  
to test that would be for me to scream at the top of my lungs.  
(beat – Ruth laughs)  
But watching you flounder is highly entertaining.  
So please, continue trying to get yourself out of this situation.

WYATT  
Ah, thanks? 

Wyatt and Rufus move off again to talk in lower voices.

RUFUS  
It’s like we’ve fallen into a mirror verse and met the evil Amy. 

WYATT  
Yeah…  
(beat)  
But we can’t be sure if she’s a direct ancestor, or an aunt,  
or something. And I can’t shoot us out of here because anyone  
on this property could be responsible for Nicholas’ birth. 

Beat as the two try to think of something, maybe pace a little.

RUFUS  
(normal voice)  
I could blend in with the servants.  
Then sneak you out in a cart or something.

WYATT  
Yeah, that’s a good idea.

RUTH  
Horrible idea, really. 

Beat as Wyatt and Rufus look to Ruth.

RUTH  
Our servants are taught the value of loyalty, and that  
disloyalty has a very broad and reaching punishment.  
A stranger amongst them would be immediately  
brought to the guard’s attention.  
(beat – smiling)  
Just trying to help.

RUFUS  
(to Wyatt)  
Definitely evil Amy. 

Off Ruth as she smiles, something eerily similar to Nicholas...

END SCENE

INT – US PATENT OFFICE – STACKS – DAY

Lucy and Flynn are walking down the stacks.

FLYNN  
I think this is the third time we’ve been down this aisle.

LUCY  
The assistant said Tarbell was still in the building...  
this really massive building. We probably just keep missing her.

FLYNN  
Let’s hope Emma is having the same problem. 

They come to a cross sections of stacks, walking swiftly. Lucy hauls them to a stop.

LUCY  
Wait, there she is. 

Long POV down the stacks, Ida Tarbell is standing and talking to R.C. McGill, holding a file and discussing something. Ida is twenty-nine with a stern complexion to match her spirit. She is dressed in a white and cream dress typical of the time with her hair pulled back into a bun. R.C. McGill, a department head for the U.S. Patent Office, is an older and distinguished gentleman in a modest but nice suit.

On Lucy and Flynn as they walk down the aisle towards Tarbell and McGill. Flynn is ever watchful while Lucy starts to get her usual starstruck smile.

LUCY  
Miss Ida Tarbell?

TARBELL  
Yes?

LUCY  
It is a real pleasure to meet you.  
You are such an inspiration in journalism.

TARBELL  
If I’m an inspiration then you must set your sights higher, my dear.

LUCY  
Oh, ah, right, well, I am sure your career is just  
getting started and you will do a lot of good work.

TARBELL  
(confused and suspicious)  
Ah, thank you. Have a lovely day.

LUCY  
Would you mind if we followed you and watched you work? 

Tarbell looks at Lucy like she’s being an odd one, then glances between her and Flynn.

MCGILL  
(addressing Flynn)  
Sir, this is rather unorthodox.  
Perhaps you should take your wife and leave?

LUCY  
He’s not, we’re not…

TARBELL  
Of course not. You are not wearing a wedding ring, and  
his eye’s keep darting around like he’s expecting trouble.  
Just who are you miss that you walk around with a guardian?

LUCY  
Ah, well, that’s a long story. 

FLYNN  
One that perhaps we can tell in a more secure location?

MCGILL  
I’m going to find the guards.

FLYNN  
Probably a good idea.

TARBELL  
Wait. This whole thing is rather curious, and I’d like to understand why. 

LUCY  
Miss Tarbell, we have reason to believe someone is out to harm you.

TARBELL  
I’ve annoyed plenty in my day but it hardly warrants this reaction.  
The truth please, if you would. 

LUCY  
(beat as stalls for an answer)  
It’s about your father’s oil interests and how  
Rockefeller is trying to strangle him out. 

TARBELL  
(raised eye)  
What do you know of Standard Oil?

LUCY  
A surprising amount, thanks to you, actually. 

Tarbell is confused by this statement, then judges both of them carefully.

TARBELL  
(to McGill)  
Thank you for your help, sir. I believe I have enough  
information for my article. If you would please excuse me?

MCGILL  
Are you sure you’ll be okay, miss?

TARBELL  
(regarding Flynn)  
By the looks of this gentleman, I’m fairly certain.

FLYNN  
Let’s get out of the building. 

LUCY  
Yes, um, Miss Tarbell, how about we go to a nearby café to discuss Standard Oil? 

Tarbell is cautious, but she also has that journalistic sense that there is a story here, something that needs to be known. She judges the situation carefully.

TARBELL  
Lead the way. 

Lucy is relieved, and they leave McGill behind, walking down the stacks towards the exit which is across the building, down two flights of stairs.

Cut to…

Emma is at the end of one of the aisles, hidden by the shelves. She holds her gun and trains it on Flynn who is at the lead. The scene is very similar to Rufus’ death in the original timeline. She takes her shot.

Cut to…

Flynn POV as he sees the glint of Emma’s gun just in time to back peddle enough to avoid the bullet. 

On Flynn as he returns fire while pushing Lucy and Tarbell behind him, towards the intersection of the stacks. Another shot hits the books and boxes near them, paper exploding. The three of them take off down the aisle.

Cut to…

Emma has run down to the intersection, cursing herself for missing her shot and letting them get away.

JESSICA  
(off camera)  
Where’d they go? 

On Jessica who is down the end of the opposite aisle.

Long POV on Emma to show both of them.

EMMA  
(pointing)  
There, but there’s no exits, they’ll have to circle back.  
(beat)  
You go around that way, I’ll go this way.  
See if we can cut them off.

JESSICA  
Okay.  
(moves to leave)

EMMA  
Hey, Jess.

JESSICA  
Yeah?

EMMA  
Wyatt and Rufus weren’t with them.  
They must have split up.

JESSICA  
Right.

EMMA  
You know what to do if you run into him.

JESSICA  
You don’t have to keep reminding me. 

Emma gives a bit of a ‘yeah, sure I don’t’ kind of smile. Then the two head down their perspective aisles to try to cut off Lucy, Flynn, and Tarbell.

Cut to…

The three are rushing down an aisle.

TARBELL  
We’re on the third floor. There’s no exit this way. 

Flynn halts them and points at a several large boxes stacked on each other. They are sitting against the wall as if someone will deal with them later.

FLYNN  
Here. 

Moving some of the boxes, Flynn creates a hidey hole big enough for Lucy and Tarbell.

FLYNN  
(to Lucy)  
Sorry for the small space.

LUCY  
I’ll manage. 

Lucy and Tarbell duck into the hiding space and Flynn moves the box back so that no one could see them unless they knew they were there.

FLYNN  
I’ll lead them away. If I’m not back in half an hour, make a run for it.

LUCY  
Flynn! 

Lucy isn’t sure what she was about to say, but he’s gone before she could even finish her thought.

Cut to…

Emma is carefully stalking down the aisle with her gun drawn, looking for any sign of her prey. She turns a corner and catches sight of someone.

On Patent Office employee who yelps in surprise, dropping the files they were holding and putting their hands up. 

On Emma who gestured with her gun for the employee to scram, she doesn’t have time for this. 

The employee runs off and Emma continues her hunt.

Cut to…

Jessica is also carefully making her way down her own aisle, gun drawn and at the ready. 

She hears something and pauses, scanning the area slowly. She can see through some of the shelving to the aisles beyond and watches for any movement. 

Cut to…

Flynn is crouched down next to one of the stacks, moving very slowly as he looks over the books on a lower shelf. 

Flynn POV, he can see Jessica on the other side, but as he’s crouched, he only sees her torso through the shelf. She has paused because she heard something, and this makes her an easy target.

On Flynn who holds his gun up and takes careful aim through the stacks. 

With one shot he could take out a high-level Rittenhouse agent who personally betrayed them and hurt Lucy. A woman Lucy considered a victim in all this despite what she has done.

Off Flynn, will he take the shot?

END SCENE

END ACT III

**Notes for the Chapter:**

> RC McGill was a real person who helped Tarbell. Unfortunately I could find nothing about him but his name. I assume he was an elder distinguished gentleman just by his job.
> 
> Also, I want to be honest, this may be the last episode I publish. I have seasons three thru five planned out, but, at the moment, with the tv movie just bumming me out so bad, I'm having difficulty convincing myself to keep going. I really appreciate those who have liked and commented, you're awesome, and I hate to leave you hanging on some of the plot threads. I will post ACT IV and the tag in the next few days... so who knows what might happen once the dust has settled.


	5. TAG IV

**Notes for the Chapter:**

> Thank you for reading. <3

**ACT IV**

INT – US PATENT OFFICE – STACKS – DAY

Lucy and Tarbell continue to hide in the small, cramped space, hidden by the boxes. 

Their conversation is in low, hushed voices.

LUCY  
Sorry about this.

TARBELL  
Don’t apologize for things that aren’t your fault.

LUCY  
(frustrated)  
But they are my fault. If I was just stronger, able to fight,   
then I wouldn’t be cowering in a corner.

TARBELL  
Is that what you call this? Cowering?

LUCY  
I’m hiding behind boxes while my friend is out there risking his life.

TARBELL  
You walked into a building to find me knowing well enough   
someone was trying to kill me, and you had the sense to bring   
a soldier who could do the fighting. That’s not cowering, that’s   
knowing your strengths and weakness and accommodating both.

LUCY  
(beat)  
Aren’t you the one to say a woman needs to   
refrain from shedding tears or appearing weak?

TARBELL  
Yes, if that woman is a journalist.   
Tell me, are you a journalist?

LUCY  
No.

TARBELL  
Then what are you? 

Beat as Lucy is unable to answer what should be a simple question.

TARBELL  
Well, my dear, once you figure that out, then you can act accordingly. 

Another beat as Lucy is still stuck on trying to figure out who she is in all this.

SFX – Footsteps which cause the women to go silent.

FLYNN  
(off camera)  
Lucy. It’s safe. 

On Flynn who moves the box out of the way and then helps both ladies to their feet.

LUCY  
Emma and Jessica?

FLYNN  
Taken care of. I led them away, doubled backed.   
We have only a few minutes before they catch on.

TARBELL  
Then we best hurry. 

Lucy and Tarbell take lead, walking past Flynn.

Off Flynn, who, last we saw him, had his gun pointed at an unsuspecting Jess…

Cut too…

INT – KEYNES HOUSE – CELLAR – DAY

Wyatt is looking up the stairwell leading into the house. The muffled sound of men talking and boots above them leave a worrying expression on his face.

Rufus is standing near Ruth. Wyatt moves towards them.

WYATT  
They’re searching the house now.

RUFUS  
Maybe we can sneak out while their attention is inside?

WYATT   
Might be our only chance.

RUTH  
Until they know the threat is over, everyone will be on their guard. 

Wyatt and Rufus exchange glances, knowing she’s probably right.

RUTH  
(long suffering sigh)  
(to Wyatt)  
Be a dear and hand me that corkscrew, would you?

Ruth stands up and grabs one of the bottles of wine from the racks, then thinks better of it and selects a different one. Wyatt and Rufus are a bit confused.

RUFUS  
So you can stab us?

RUTH  
Well, that wouldn’t be any fun, now would it?  
(holds out bottle)  
Fine, open this for me and you might just get out of here alive. 

Wyatt and Rufus exchange looks again, but what do they have to lose? Wyatt takes the bottle and grabs the nearby corkscrew, opening the wine. He hands it to Ruth who sniffs at the opening, nods to herself, then takes a big swig from the bottle.

SFX – The cellar door opening.

Wyatt and Rufus’ attention go straight to their impending capture.

RUTH  
(low voice)  
You boys better hide.  
(quick beat)  
Shoo! 

Confused, but with the Rittenhouse men coming down the stairs, Wyatt and Rufus quickly move to hide behind the barrels and crates.

On stairwell. The Guard from earlier cautiously walks down, followed by Ruth’s brother, Phillip. They stop when they see Ruth, sitting on one of the barrels, swigging on the wine.

PHILLIP  
You’ve been down here getting drunk?   
Did you not hear the alarm?

RUTH  
(thinks about it)  
Yes. 

If the phrase existed at the time, Phillip would be 100% Done with his sister, his expression reflects this.

On Wyatt and Rufus who continue to be very confused but whatever is happening seems to be working for them, so...

On Ruth…

RUTH  
(sounds tipsy)  
Have you seen my cigarettes? I seem to have misplaced them.

PHILLIP  
They’re in the study.   
(sigh)  
Stay down here until you’ve sobered up,   
we have guests and you’re a disgrace to the name. 

Ruth gives Phillip the middle finger and a rather unladylike expression.

PHILLIP  
I knew those Italians would be a bad influence.   
You’re lucky father found anyone willing to marry you.

RUTH  
(tauntingly)  
Just wait to see what he has in store for you. 

That seems to hit Phillip harder than he expected it to, startling him.

PHILLIP  
Sober up. 

Phillip turns and marches back up the steps, the Guard following.

RUTH  
(sarcastic)  
Well, that was delightful.  
(to Wyatt and Rufus)  
You can come out now. 

Slowly, Wyatt and Rufus emerge from their hiding spaces, not sure what just happened...

RUTH  
Now, in a bit, I’m going to go upstairs and make quite the ruckus.   
When I do, you slip out and be on your merry way.

WYATT  
Thank you, but… why are you helping us?

RUFUS  
Hate to remind you, but we’re enemies of Rittenhouse.

RUTH  
Yes, you are. And Rittenhouse is my family. We are changing   
the world, saving it, from the likes of idiots such as yourselves.   
(beat)  
But the simple truth is, this will completely annoy my father,   
and while I love my family, I _really_ hate _him_.

Off Ruth who has the deviousness expression of Nicholas paired with the cold look of determination Lucy gets when she’s backed into a corner.

END SCENE

INT – KEYNES HOUSE – STUDY – DAY

Joshua is standing at one side of the room with Phillip and a few men. Nicholas and Otto are at the other side.

JOSHUA  
(not amused)  
The cellar?

PHILLIP  
Yes. 

Conversation goes indistinct as camera focuses on Nicholas and Otto.

OTTO  
This is not exactly how our day was planned. 

Nicholas gives Otto the side eye, he is not happy or amused. It’s his own mother who is ruining things.

On the door as the Guard comes in.

GUARD  
Sir, it’s Miss Keynes.

JOSHUA  
Now what?

GUARD  
She’s drunk, sir, and she seems to be stripping   
off her clothes on the south lawn.

PHILLIP  
Well, stop her! 

Everyone starts to file out quickly to go stop this indecency from happening. Joshua pauses to gesture for Otto and Nicholas to leave.

JOSHUA  
Gentlemen, I believe our business has concluded.   
I have the documents you provided, I will go over them   
thoroughly. If I have questions, I will send word. 

Nicholas and Otto look to want to argue, but Joshua’s demeanor makes it very clear there is no room for argument. The two bow their heads and let themselves be led out.

Cut to… INT – ENTRY HALL

It is just Nicholas and Otto standing in the entry hall.

OTTO  
We’ve barely scratched the surface of our plan.

NICHOLAS  
It’s all in the packet. Once they’ve had a chance to properly   
examine it, they’ll figure out what needs to be done.

OTTO  
If Rittenhouse is to control the oil and transportation industry, then let us hope so. 

Emma walks in, a strange look between annoyed and amused.

EMMA  
Is it normal to have drunk semi-naked women running around the property? 

Nicholas blanches at that.

OTTO  
What of Sherman and Tarbell?

EMMA  
Sherman’s dead, but Tarbell got away, thanks to Lucy.

OTTO  
Unfortunate, but Tarbell is named in the documents.   
There is time for them to take care of her themselves.

NICHOLAS  
We should go. 

Nicholas nearly storms off, leaving Emma to give a questioning look to Otto.

EMMA  
What burr got up his butt?

OTTO  
The drunk semi-naked woman? That’s his mother. 

Otto moves to follow Nicholas while Emma thinks about that for a second.

EMMA  
Well, that explains a few things. 

Off Emma as she leaves…

END SCENE

EXT – CAPITAL BUILDING STEPS – DAY 

Lucy, Flynn, and Tarbell are standing in the shadow of the building. Flynn on watch for trouble as Lucy and Tarbell talk.

TARBELL  
You’re saying Senator Sherman was murdered?   
Pushed over the side?

LUCY  
I am. He was working on a bill that would have   
angered many powerful people, including Rockefeller. 

Beat as Tarbell gets a very inquisitive look in her eye, thinking.

TARBELL  
The police will believe it to be an accident.

LUCY  
Likely. But I’m sure if someone where to ask around,   
they could find evidence to the contrary.

TARBELL  
One should start with the porters and cleaners.   
They are often ignored and yet see everything.

LUCY  
They’ll have quite the story to tell. 

Tarbell nods, already itching to investigate. But for the moment, she looks to Lucy.

TARBELL  
Figured out what you are yet?

LUCY  
(stumbles)  
Ah… well… I once thought I was a singer, but I became   
a historian, then a teacher. Now… I’m supposed to be a   
protector, but I don’t feel like I have what it takes.

TARBELL  
If I’m perfectly honest, a woman only needs to _have_ two things:   
access to an education and control over her own purse.   
With that, you can be whoever you want to be. 

Beat as Lucy thinks about this.

Wide POV as Wyatt and Rufus come lightly jogging up.

LUCY  
How did it go at the house? 

Wyatt and Rufus both open their mouths then stall out a bit.

WYATT  
It’s a really long story.

RUFUS  
One that Wyatt will tell you when we get home. 

Wyatt looks at Rufus like he’s a traitor.

RUFUS  
This Ida Tarbell?

LUCY  
Yes, we stopped Emma and Jessica from getting to her.   
But they got away, so it’s still not safe.

WYATT  
We saw a carriage approach on our way from the house.   
I got a glimpse of Emma inside it.

FLYNN  
Must have decided to call this a wash, she already got Sherman.

LUCY  
(to Tarbell)  
The current threat may be over, but, be careful. I have a   
feeling you’re going to annoy some very powerful people   
who, to be honest, really deserve what’s coming to them.

TARBELL  
I’m looking forward to it. 

Off Tarbell… the Muckraker that took down Rockefeller and helped to reinvent American journalism.

END SCENE

INT – TIME TEAM HQ – GYM/LAUNCH AREA – DAY

The Time Team is unloading from the Lifeboat as Jiya, Mason, and Denise watch on. Lucy is moving towards the computers.

LUCY  
I need to look up if an Antitrust bill was signed into law in the 1890s.

MASON  
(scoffing and annoyed)  
You mean the Tarbell? 

Everyone stops and looks at Mason.

MASON  
Every time I tried to expand my business in this country I had   
to have a team of lawyers make sure that I wasn’t violating the   
Congressional Antitrust Act of 1891. Everyone just calls it the Tarbell.

LUCY  
They do?

MASON  
Yes, after this reporter, Ida Tarbell, who revealed that some   
congressman or another was murdered over it. 

RUFUS  
She then went on to write _The History of Standard Oil_?

MASON  
Yes! Completely broke up Standard Oil. And, of course, the Tarbell   
was later used against IBM. That litigation literally created the   
software industry, which, admittedly, I greatly benefited from.

LUCY  
I didn’t realize you knew so much about this.

MASON  
I _was_ the CEO of a topped ranked Fortune 500 company, you know. 

Lucy just gives him a look of ‘fair’ and ‘respect.’

RUFUS  
Well, that’s one disaster averted. And since you guys haven’t   
forgotten about Lucy, we can assume the other one was averted too.

FLYNN  
What do you mean by that? 

RUFUS  
(to Wyatt)  
It’s all yours, man.

WYATT  
You were there too!

RUFUS  
Yeah, but you were the one who decided to kidnap Lucy’s   
great great-grandmother and shove her in the basement.

EVERYONE  
What?!

WYATT  
It’s not as bad as it sounds! 

Off wide POV of the team who have no idea how to take that…

END SCENE

INT – GYM/LAUNCH AREA – EVENING

Time has passed. Rufus, now in normal clothing, is setting up the game system which is still in the launch area. Jiya comes into camera view.

RUFUS  
I’m thinking _Red Dead Redemption_ , how about you?

JIYA  
Sure, but first, I need to tell you something.

RUFUS  
(giving her his attention)  
What’s wrong?

JIYA  
Hans Gruber was Alan Rickman’s character in _Die Hard_.   
I remember that. 

It takes a second for Rufus to realize the significance of what she’s saying.

RUFUS  
But you stayed here when we went to Berlin.

JIYA  
I know, but I also watched that movie a million times. It was   
my dad’s favorite. It was one of the last things we ever did together. 

Rufus moves forward and wraps his arms around an emotional Jiya. After a moment, she pulls back so she can continue to explain.

JIYA  
I remember Hans and Elsie because they where part of something   
that was important to me, they had significance. Watching the movie   
with my dad, constantly rereading over the life of Mary Shelley for inspiration…

RUFUS  
So the Radial couldn’t overwrite the memories.

JIYA  
It seems that way. But how? How is this even possible?

RUFUS  
I don’t know, but the smartest people in the world are   
here, in this building. We’ll figure it out and we’ll fix it. 

Jiya isn’t sure she believes that, but she moves back into Rufus’ arms and lays her head on his chest as he holds her.

RUFUS  
Everything will be okay. 

Off Rufus and Jiya… hoping that he’s right…

END SCENE

END ACT IV 

**Notes for the Chapter:**

> Tarbell's comments about women in journalism and only needing access to education and their own money were taken directly from her biographies.
> 
> The first documented use of "flipping the middle finger" was a baseball pitcher in 1886. It's a gesture that goes back to antiquity, and believed to have been brought to the US by Italian immigrants.


	6. TAG

**TAG**

INT – TIME TEAM HQ – KITCHEN – EVENING

Flynn is washing his cereal bowl and spoon in the sink as Lucy walks in. She heads towards the coffee maker, and realizing there is no coffee made, starts to make a batch.

The two are quiet for a long moment.

LUCY  
What did you mean, before, when you said you  
knew why I wanted to learn how to shoot? 

Flynn doesn’t answer immediately. Instead he dries off the bowl with a towel and sets it in the dish rack. He doesn’t look at Lucy as he speaks.

FLYNN  
You’re not her.  
(beat)  
You’re not Future-Lucy. 

LUCY  
But she is my future.

FLYNN  
I thought that too once. 

Beat as Lucy doesn’t know what to do with that information and Flynn seems to become resigned.

FLYNN  
I’ve been right about a lot of things, but wrong about a  
fair few others. Fate… destiny… it… it doesn’t work that way.

LUCY  
How does it work then?

FLYNN  
(beat)  
People and opportunities are placed in our path,  
we decide what we want to do with them.  
(looks at Lucy)  
If you become her, then that’s what happens, but don’t for  
a minute believe that it _has_ to happen. She wanted to  
make a better future for everyone, that includes you as well. 

Lucy studies Flynn for a moment, then looks away as the coffee finishes making.

LUCY  
(quiet)  
You’re right, Flynn, you’ve been wrong about a few things. 

Flynn doesn’t answer, turning to look straight ahead.

Off Lucy and Flynn as they stand there in silence, the weight of the future looming over them.

END SCENE

INT – MODERN RITTENHOUSE HQ – EVENING

A copy of _The History of Standard Oil_ is slammed down onto a desk.

Medium POV of Nicholas who is standing at the desk, clearly angry and frustrated. Otto is standing not far off, confused and curious. Emma is just waiting for the tantrum to pass, completely disinterested.

NICHOLAS  
How could this have happened?

OTTO  
Everything was listed in the paperwork.  
We spent hours mapping it out for them.

NICHOLAS  
Grandfather wouldn’t have ignored it. 

OTTO  
We can go back, try again?

NICHOLAS  
My great-granddaughter and her gaggle of men now  
know what we’re up to. We’ll have to find another  
way to approach the situation.

OTTO  
It would perhaps help if we knew what exactly went wrong.  
We could, perhaps, delve into your family’s historical records.  
Surely your grandfather or uncle wrote about this in their journals?

NICHOLAS  
(blanches)  
That’s something I’d rather avoid.

JESSICA  
(off screen)  
Doesn’t look like you’ll have a choice. 

POV on Jessica as she walks up next to Emma, a cell phone in her hand. She is decidedly not injured in any way.

JESSICA  
That was a Council representative. It seems our little  
corner of Rittenhouse is going to be getting a visit  
from someone much higher up the food chain.

NICHOLAS  
Who?

JESSICA  
Your cousin, something-something removed.

NICHOLAS  
Uncle Philip’s great-grandson?

JESSICA  
That’s the one. 

Nicholas does not like this news, reacting as if that was an even worse possible outcome to the day. Then he takes a breath and steels himself.

NICHOLAS  
When will he be here?

JESSICA  
Monday.

NICHOLAS  
Then we have several days to prepare. 

Nicholas walks out of the room and Otto follows with a shrug.

Emma and Jessica exchange glances as Jessica walks over to the desk. Jessica taps her fingers on _The History of Standard Oil_ book.

JESSICA  
What went wrong, you think?

EMMA  
I told you. History finds a way. 

Off Emma who is far more devious and dangerous than Nicholas could ever hope to be…

Cut to…

INT – KEYNES HOUSE – STUDY – EVENING

Ruth is standing in front of the fireplace, wine glass in her hand. She’s watching the fire, thinking.

The door opens behind her and Phillip walks in.

PHILLIP  
There you are.

RUTH  
Here I am. 

PHILLIP  
You can’t keep doing this. Father will cart you off to  
one of those places where hysterical women are sent to.

RUTH  
Hysterical?  
(laughs)  
Oh, you are probably right. 

Ruth turns and takes a breath, squaring off her shoulders.

RUTH  
It’s about time I started acting like a proper Rittenhouse descendent, no?

PHILLIP  
That would be a good start.  
(beat)  
No last hurrah? No plans to run naked through the halls of the capital? 

Ruth thinks for a moment, then smiles.

RUTH  
No, I think I’m good. 

Camera pans off Ruth and onto the fireplace.

Off fireplace where the remnants of Nicholas’ master plan is turning into ash…

END SCENE

END TAG

END EPISODE

CLOSING CREDITS

NEXT EPISODE: 305 – “The Spirit of Saint Anthony”

RUFUS  
You know who would have been able to figure this out? Anthony.

FLYNN  
Rufus—

RUFUS  
No!

Rufus gets right up into Flynn’s personal space. He’s angry and just a hair snapped.

RUFUS  
Now, I know you were right, about Rittenhouse.  
And I can sympathize with wanting to save your family.  
And I _accept_ that we need your help.  
But don’t think for a _damn second_ that I  
haven’t forgotten that you murdered my friend. 

**Notes for the Chapter:**

> Thank you again for reading. <3
> 
> Further Reading: "Ida Tarbell: Portrait of a Muckraker" by Kathleen Brady, and "Taking on the Trust" by Steve Weinberg
> 
> I do have several more episodes planned, you can already see the next one is in the works but it's not close to a finished script. I still have Cold Sunday, Night Witches, Tulsa Race Riots, and several other historical events in the works for season three alone. I admit, my morale for Timeless is the lowest it's ever been. We'll see what the new year brings. 
> 
> Until then, thank you to those who read, who liked, and who reviewed. Your comments are greatly appreciated. Stay awesome, my friends.


End file.
